Another branch of the fine arts, that of miniature, seemed to attain its perfection under one of Giulio's scholars. His name was D. Giulio Clovio, of Croazia, a regular Scopetine Canon, afterwards becoming a layman by a dispensation from the Pope. He had first turned his attention to the higher branches of the art, but Giulio, who saw he possessed a peculiar talent for diminutive figures, prevailed upon him to apply himself to these; and taught him the first of any in Rome, the method of applying tints and colours in gum and water colours, while in miniature he obtained instructions from Girolamo da' Libri of Verona. He is esteemed at the head of his profession in this line. In his design he displays a good deal of study of Michelangiolo, and of the Roman School, though approaching nearer to the practice of a good naturalist, exquisitely graceful in his colours, and admirable in his exactness of drawing the minutest objects. Great part of his labours were undertaken for sovereigns and princes, in whose libraries may be found books ornamented by him in miniature with such a degree of truth and spirit, that we appear to view these diminutive objects rather through some camera-optica, than in a picture. It is related by Vasari, that in an Office of the Virgin, made for the Cardinal Farnese, there were figures which did not exceed the size of a small ant; and that each part was nevertheless distinctly drawn. It is worth while, indeed, to read the whole description given by that historian of the miniatures there inserted, in which he likewise selected subjects adapted for a multitude of figures, such as the procession of the _Corpus Domini_ at Rome, and the feast of the Monte Testaceo: a labour of nine years, which was distributed into twenty-six little histories. He produced numerous small portraits painted for private people; (an art in which he is said by Vasari to have equalled Titian) besides a few little pictures. These are rarely to be met with in collections. There is one of the _Deposizione_, in the library of the Padri Cisterciensi, at Milan, a piece quite original in its composition, but which breathes altogether the taste of the golden period. Indeed, I am inclined to be of opinion that Giulio promoted this very study in Mantua; having myself seen there some exquisite miniatures, though by unknown hands. It is also worthy of notice, as Vasari remarks, that by means of Giulio, the art advanced towards perfection, not only in Mantua, but throughout all Lombardy, (a state which, in the native acceptation of the term, includes also a portion of the modern Venetian territories). This we have already in part seen; and in part shall continue to see more clearly in the course of this history. MANTUAN SCHOOL EPOCH III. _Decline of the School, and Foundation of an Academy in order to restore it._